“Who’s afraid of the big, bad buildings? Everyone, because there are so many things about gigantism that we just don’t know.”

Really living without clutter takes an iron will … This involves eternal watchfulness and that oldest and most relentless of the housewife’s occupations, picking up.

It supplies a necessary kind of magic to people and places that lack it. More than just a dread of empty spaces has led to the urge to decorate; it is the fear of empty selves.

What counts more than style is whether architecture improves our experience of the built world; whether it makes us wonder why we never noticed places in quite this way before.

The building is a national tragedy – a cross between a concrete candy box and a marble sarcophagus in which the art of architecture lies buried.

In the end, these unavoidable conflicts provide architecture’s essential and productive tensions; the tragedy is that so little of it rises above the level imposed by compromise, and that this is the only work most of us see and know.

Until the first blow fell, no one was convinced that Penn Station really would be demolished, or that New York would permit this monumental act of vandalism against one of the largest and finest landmarks of its age of Roman elegance

The gamble of triumph or tragedy at this scale – and ultimately it is a gamble – demands an extraordinary payoff. The trade center towers could be the start of a new skyscraper age or the biggest tombstones in the world.

The style of Parisian architecture has been proved and refined by at least three centuries of academic dictates and highly developed taste.

Real serious waiting is done in waiting rooms, and what they all have in common is their purpose, or purposelessness,

Nothing was more up-to-date when it was built, or is more obsolete today, than the railroad station.

California … is the place that sets the trends and establishes the values for the rest of the country; like a slow ooze, California culture spreads eastward across the land.

Tossed into the Secaucus graveyard are about 25 centuries of classical culture and the standards of style, elegance and grandeur that it gave to the dreams and constructions of Western man.

It is the rare architect who does not hope in his heart to design a great building and for whom the quest is not a quiet, consuming passion.

Some people wait constructively; they read or knit. I have watched some truly appalling pieces of needlework take form. Others – I am one of them – abandon all thought and purpose to an uneasy vegetative states.

The skyscraper and the twentieth century are synonymous; the tall building is the landmark of our age.Shaper of cities and fortunes, it is the dream, past and present, acknowledged or unacknowledged, of almost every architect.

Every age cuts and pastes history to suit its own purposes; art always has an ax to grind.

I don’t make big grand gestures, generally.

I’m not that big, physically. I’m just big where it counts – I got a big heart!

If you believe in a God who controls the big things, you have to believe in a God who controls the little things. It is we, of course, to whom things look ‘little’ or ‘big’.

I’m really concerned that ‘too big to fail’ has become ‘too big for trial’.

Maybe you have to be smaller if you want to see bigger things. To see how the sky looked prettier from the ground.

The two big advantages I had at birth were to have been born wise and to have been born in poverty.

Obscurity is a bigger problem than money.

Dream a dream so big that unless God intervenes it will fail.